Kurtisso

...and more unstable than either of the standard options. I did this for awhile until an OSX update made my sound card stop working, with the only fix being a hardware update. 

You sir are "earning the shot", well done!

MAN. No FPN on real global shutter, rich colour depth, 14.8 stops DR and ability to crank to 60fps?  Seriously Eddie, how do we make this happen?!!!!

The maximum gain we can have on the EMCCD register is 40x at 0°C (threshold of diminishing return) which is about a 5.3 stop boost. The problem with going that far is that we'd likely end up getting more noise in the midtones since we'd have to use more of the low gain signal. We would technically extend our dynamic range by a stop and get better SNR in the deep shadows, but that gives way to noise in the middle. So at default it'd be a 4.3 stop boost on the EMCCD at normal operating temperature. And we'd be able to get around 14.8 stops (based on well cap and read noise RMS) without any highlight reconstruction. You'll be able to see pretty far into the dark with this sensor (it is designed with surveillance in mind after all). There's also the EMCCD only mode, where we could use high gain and get around the same dynamic range as the current D16, but cleaner.
My main thing with this is that we haven't had any FPN. So on a sensor with 14+ stops (without HR) that doesn't have FPN 
I also forgot to mention that the sensor can switch to "Normal mode" (11+ EV DR) instead of the intra-scene switchable gain to achieve 60fps at 1080p.

Awesome @Tito Ferradans, hope it works out!

I just took some calipers to the locking screw of my DS-1609-SB, looks like a 3mm diameter.
I would say take it down to Pacific Fasteners on 1st near Boundary maybe. They have a warehouse full of fasteners. I took my Redstan down there a little while ago to get longer nylon screws. 

Since it's based off of the 5.5 micron design, without the EMCCD we'd see a base ISO of 200. But since the sensor has what they call "intra-scene switchable gain" (this happens in the analog realm, not digital like the ALEXA and BMDs), we would likely see a base ISO of ~1600 when using the intra-scene mode. In determining this, I'd basically have to find the operating point of the sensor to see what would give the most even distribution of dynamic range vs noise vs sensitivity.
I agree QuantumFilm looks really good spec wise, but based on what they have built into the sensor, I think I'd want to change a few things because I'm a control freak with these kinds of things haha It's a shame that they aren't doing S16, S35 sized sensors. I think we'd actually try CMOS if it were QuantumFilm sensors.

Handheld with a zacuto EVF. I really love the small size of it  especially for this run and gun type shooting.

Here are some screen grabs from my shoot here in Mexico. All 1dc at 4K with my CONTAX Zeiss glass. Graded with color finale and shot in Canon Log  

DUDE.
WOW. Still trying to lure @Zach Goodwin out?

I'm still wondering where @Zach Goodwin is, I want his input badly.

That is, in fact, the sensor I'm talking about  the KAE-02150. So, so nice. If you read up on EMCCDs, you'll see the higher the gain, the lower the amount of noise. It works by varying voltages in a special gain register and the electrons collide with each other and a phenomenon called impact ionization happens. More electrons are created! And electrons are our signal! So more gain = more electrons = more signal = less noise

Yessss!!! Get DB back to Kickstarter Eddie? I would be incredibly interested in either of those! A D16 with 30fps for that slight slowing, better DR and better lowlight would be a dream. Seriously, sounds like Matthias and I are signed up :P
Is this the sensor you are talking about? It appears to see in the dark!
 

Yessss!!! Get DB back to Kickstarter Eddie? I would be incredibly interested in either of those! A D16 with 30fps for that slight slowing, better DR and better lowlight would be a dream. Seriously, sounds like Matthias and I are signed up :P
Is this the sensor you are talking about? It appears to see in the dark!
 

I developed the color science and did all my tests with the camera on Windows. There's the free HFS explorer tool, or you can buy HFS drivers for Windows for 20 USD.
If we were to make other cameras, I think a D35 and a D16 mk II based on EMCCDs would be my preference.
The D16 mk II would hopefully be based on the KAE-02150. So 30fps, 14+ EV of DR without any of the highlight reconstruction. That's without any noise reduction in the circuitry of the sensor or in the software, so it'd keep the same mojo of the D16.
The D35 is more of a dream camera for me. Nothing like it currently exists. I actually made a list a while ago and posted on our user group that Joe was actually on board with had the funding been there to pursue it. It'd basically be an EMCCD version of our sensor, but double the dimensions and resolution horizontally and increase the dimension vertically enough to achieve 16:9.

Make the camera please, I will pay with a blank check.

Loving this discussion going on! I am very grateful to hear different perspectives especially if they meander too!
Off topic here but speaking of writer/director combo, I'm blown away at Richard Linklater's process for "Boyhood". To have a general structure of the story written for the 12 years, but then to pretty much produce a short episode each year and to have had pretty much full cooperation from cast and crew over the 12 years, pretty astounding stuff! They couldn't sign a 12-year contract either, as anything over 7 was illegal. He must have made an amazing pitch to IFC, getting them to commit to that process.

Loving this discussion going on! I am very grateful to hear different perspectives especially if they meander too!
Off topic here but speaking of writer/director combo, I'm blown away at Richard Linklater's process for "Boyhood". To have a general structure of the story written for the 12 years, but then to pretty much produce a short episode each year and to have had pretty much full cooperation from cast and crew over the 12 years, pretty astounding stuff! They couldn't sign a 12-year contract either, as anything over 7 was illegal. He must have made an amazing pitch to IFC, getting them to commit to that process.

Awesome! I ran out of likes for today so there's an IOU one for you. Good luck with the script! 
I'm definitely very interested in learning how to work better with amateur actors and how to write with the intention of walking the line of documentary and fiction. 
Yeah I check that "shooting" subforum from time to time but it seems to be more of just a screening room for people's work, which is cool and all! 

This is a great question. Walter Murch told me that the first time he watches the footage he treats pretty sacredly and he just tries to not think about anything like structure prematurely. He's editing it for someone whose first impression is key (the audience) so he holds his first impression with respect. He'll observe his emotional response to footage, then try to work around the right emotion, stringing the rest together, and making compromises for continuity etc. along the way. There's no map of the coverage. It's just wow that show has emotion. We'll use it.
If you're not prepared to throw it all out (not all of it, but any given shot), hire an editor. I mean you need some structure to get things done reasonably quickly so chances are you won't throw every single good shot out. But never consider the time on set because then you'll feel you need to do penance in post spending equally as much time making it work when you can just... delete...
Getting notes can help. When I feel like I'm up my own ass I get notes. Someone recommended getting client notes often so they feel like they're on the same page. As soon as it's presentable, but make sure it's presentable. For personal work, if I watch something with family members in particular (they're usually by some margin the most critical audience, I've found) I can tell when something is working and it isn't. But they're usually so mean I just give up so I only show them the best stuff and instead I ask friends who offer more constructive criticism generally. 

Hey guys, so I know there's a lot of traffic right now in another thread about some unfortunate dealing in the film community. Want to ask a positive question during my afternoon coffee break. I've been working non stop all week on editing a big project I shot for a few months early this year... I want to ask the community out here: To all who are both cinematographer and editor on their projects what helps you edit your footage objectively? What do you keep in mind to help separate yourself from the footage you shot and know in and out? This is a very subjective question as there is no 'right' answer. Do you just need time away from it? Curious how you all deal with this phenomenon. I definitely am attached to my footage and feel a connection with many 'good' shots that I want to use but may not be necessary to the true story of the project.

Ok, one more post then Im done until he answers.
I see three theories to what happened.
1. Exactly as its claimed. Ebrahim put out an ad for an object. When he got a buyer he took the money and never sent the item.
He didn't do it to multiple people. He didn't do it anonymously on eBay. He didn't do it with something expensive instead of an item worth like a sixth of what one of his camera bodys alone is worth. Or probably just a fraction of what his business that he has mention many times makes.
He just threw reputation, status and morale down the drain for a few lousy. 
Also waisting the opportunity to make some real money on selling a 1Dii or 1DC to ten different people at once.
2. Its a deal gone wrong. The item got lost in the mail, broke, got stolen, wasn't what the buyer expected, what have you.
Buyer wants a refund. Seller doesn't feel that is fair. Argument. More argument. And finally some open letter type of "revenge".
The message earlier could have been part of such a refund discussion and not an admission of guilt.
3. Hacked account of an unknown, grandson, what have you.
Again, Im not accusing anyone of anything, just not ready to pass judgement so quickly when I see three theories. 
Its not beyond reasonable doubt imo.
 

Lol
Yes, him, Dougdale, Chris and Jordan are all in it to make couple of quick bucks on lens scams. All the videos they made are just a front.
And they would have gotten away with it if it wasn't for those snooping forum people.
Sorry for the off topic, I will now sit quietly until Ebrahim replies.

Yeah, I also feel that I need more info. I'm not saying he is innocent, but nor do I have enough to say guilty. Even that message posted earlier is just one side and out of context.
Philip Bloom looked a whole lot guiltier than this but was still defended by the forum under the "innocent until proven guilty" principle.
I will hold on to my stone for a while.
(BTW, if it was a planed scam, where are all the others that also bought it?It sounds to me like a deal gone wrong. Ecatly who is to blame is the question. But it doesn't seem to be a big planned scam on any large scale.
Again, not defending anyone, just thinking out loud.)